May 2011

When I reviewed Cities last month I effectively called it the offspring of FITS and Carcassonne, and it occurred to me at the time that I have yet to cover Carcassonne in this space. Time to correct that oversight.

A perennial “gateway game” that has been around for more than a decade now, Klaus-Jürgen Wrede’s tile-laying classic Carcassonne (published in the US by Rio Grande) has received so many expansions over the years that it could potentially provide fodder for this column for a solid year. I will be focusing only on the base game for now.

Each player (from two to five) receives seven meeples (“followers”), with another one placed on the score track. Once the start tile is located (it has a different colored back), the remaining seventy-one tiles are shuffled (or placed in a bag) and the start player determined. Each tile contains one or more of the following features: a road, part of a city, or an cloister. On a player’s turn, they draw one tile and place it adjacent to an existing tile in such a way that any roads and/or cities on the new tile matches up with all surrounding tiles. They may also play one meeple on the new tile, if able; meeples placed on a road, city, or cloister claim that structure for the player, and no new meeples can be placed directly on it, although two separate claimed structures can be united by the careful (or careless!) placement of a new tile. 

When a structure is completed (a fully enclosed city or cloister; a road with two end points), the claiming meeple scores points based on its size and is then returned to its owner (even if it was just played); if multiple players have meeples claiming the structure only the majority player earns points (or all tied majority players). Alternately, a meeple may be placed on the field portion of a tile, effectively claiming all connected fields (with the same one-meeple-per-field restriction); these meeples do not score until the end of the game, so once you place one in this manner you basically lose it, although the potential payoff may be worth the investment. There are a few different rules for how to score these “farming” meeples, although the easiest (and best) is that they score three points for every completed city adjacent to their field. The game ends when the last tile is played, at which point any incomplete structures are also scored.

And that’s it, really. One of Carcassonne‘s strengths is its simplicity; with no reading required, games can be played in well under an hour. Game play can be further sped up by each player drawing a new tile at the end of their turn and knowing in advance what they will have to work with on their next. There is not a ton of in-depth strategy to be found in the base game, but Carcassonne is more than just a simple filler, like most solid gateway games. If you can find the base game (which often includes The River, a minor expansion) you should be able to pick it up for around $30 or less, but it is somewhat more likely that you will instead find some sort of “big box” version containing several expansions. No matter which version you actually pick up, Carcassonne will pay you back in repeated play several-fold. 

In the Back to the Future‘s fourth episode, Double Visions, it’s clear that we’re getting to the end. The small plot segments in previous installments are finally being tied in, action is reaching a fever pitch, and conveniently all the minor characters’ stories are being wrapped up so they’re out o the way for the grand finale. 

(As with the rest of our episodic reviews, we’ll avoid spoilers for this episode but have no problems spoiling the previous ones. We’re also not talking about the engine or character designs, since they’re not new from episode to episode. They’re meant to play in order, and you can look at our reviews of the first, second and third episodes for information on those.)

It seems the series likes kicking off episodes with action sequences and crazy plot developments. Most would have these scenes be the ends of the previous parts, and that would even make sense from a narrative standpoint, so to have the wrap-up of the 1985-Edna setting at the beginning of this part (that’s largely about 1931 again) seems a bit strange. It’s possible that Telltale wanted the variety that having both settings in the game brings.

In a design decision that is just starting to bore us, everything centers around a laundry list of objectives for one specific goal. (Last episode, it was the demerits.) What’s most frustrating, we think, is that these goals just aren’t the interesting parts of the world. We know it can work; thinking through it, the first Back to the Future movie was structured in a way that there were multiple goals to getting Marty’s parents to fall in love. The third installment, Citizen Brown, had many alternate-timeline references, and those were great. The beginning piece of Double Visions makes some nice movie references, but the latter arc relies too much on original ideas to really capture that nostalgia. 

To try to crank up the sense of urgency (or just possibly to try to make recycled environments look different), Double Visions uses more tight shots and dynamic camera angles. This creates a bit of an old-Sierra feeling, where you enter largely static views where items have carefully-curated places on the screen. If they went all the way with this, it’d be great! As it is, it’s just a bit off, as Marty himself blocks your view or gets stuck trying to navigate these tight, cramped environments. 

All that said, the story’s hanging in there, and after playing Double Visions, we’re still excited about the season finale. We’re hoping it’s the best yet, and with the frantic pitch an end can reach, it has a chance.

 

Din’s Curse: Demon War from Soldak Entertainment is all about atoning for your characters’ past sins; unfortunately it has a few sins of its own as well. An overhead action RPG in the vein of Diablo and Dungeon Siege, Din’s Curse does not bring much new to the table with one notable exception: almost everything is randomly generated. Demon War is a new expansion for the game that brings a new character class and enemy types to the game, but the core is largely unchanged. There is almost no story to speak of, and the presentation and graphics are right out of the late nineties. If you enjoyed Diablo and its dungeon crawling ilk, however, Din’s Curse: Demon War may be a nice way to bide the time until Diablo III is released. 

Basically, the story of Din’s Curse revolved around your character being recalled from the dead by the god of honor Din to fight endless waves of undead and demon monsters in order to make things right for your past misdeeds (what they are, I can only guess). You will only figure out the premise of the game by talking to NPCs in town, if you are so inclined. Even the very first time you play the game, you are plopped into the world with almost no direction beyond a terrible hint system, in the midst of a dozen NPCs and the oversized, deep-voiced god Din himself. You will need to figure out on your own that you need to pick up quests from these characters—and you will need to figure out on your own that failure to do these quests in a timely manner can have dire consequences; most of them are time-sensitive.

One of my first experiences with the game was having my entire town’s population destroyed by invaders within the first half-hour, and I had no idea why. The good news is that failure is not a huge deal: you just generate a new world and start the dungeon diving anew. If you are anything like me, you won’t really know why you are in these dungeons in the first place and you will feel very little attachment to the world and its inhabitants. The only real reason to fight onward is to strengthen your character. When you get down to it, self-improvement is the driving force behind most RPGs, but it is a bit jarring to have any presupposition of a story thrown to the wayside.

The only thing that remains constant throughout the game’s ‘campaign’ (I use the term lightly) is your nameless character and his stats and skills. Every time you fail to succeed in defending your home town, you can start again with the same character in a new world that will look remarkably similar, but different from the old one. All of the RPG archetypes are available for leveling, including but not limited to: Mage, Warrior, Rogue, Ranger, and as of the new Demon War expansion, Demon Hunter. That last one is particularly fun to mess around with. Each class plays differently, and you can even create your own hybrid class, but doing so will sacrifice one of the character’s skill trees. Leveling up and gaining new skills is compelling, and like Diablo you can save up your skill points to invest in the more powerful spells and abilities, foregoing the more basic ones, if you should so choose. There is no doubt that Din’s Curse is all about the gameplay; killing countless enemies, fulfilling quests, and investing skill points in your character are all satisfying to do, and there is definitely fun to be had down underground. The sheer variety of abilities and enemy types provided by the game is undoubtedly enough to keep some people playing for quite some time.

If you are a lover of dungeon crawlers, and wish to be teleported back in time a decade or so, Din’s Curse: Demon War is right up your alley. The game looks and feels like something from that era; the graphics are basic at best, when compared to most games released today—and the same can be said of the game’s UI and presentation. The gameplay is fun when you get into it, but whether or not it is fulfilling is something you will have to figure out on your own. This game, like most RPGs, can be a timesink, and without much in the way of motivating factors such as an engaging story or even a persistent world, you might find yourself wanting to spend your time on something more meaningful. The game does give you the option of increasing the amount of experience you gain, thus quickening the pace of the game, but progress still takes time, as it should. If all you want to do is level up a character by fighting hordes of undead and demons with the click of your mouse, Din’s Curse: Demon War might just do the trick.

Pros: Variety of skills and enemies

Cons: Graphics and presentation are from 1998, lack of story and persistent world may lead to apathy

 

Whoa! We have a podcast again? That’s right, we’re reviving the ‘cast for all you readers and listeners out there. Check out our new episode below, as Andrew, Shawn and Graham talk the new Nintendo console, Portal 2, the year so far and more.

 

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Check out the show here or use the RSS feed in your favorite Podcast Aggregator. Let us know what you think!

Hosts: Andrew Passafiume, Graham Russell, Shawn Vermette

Music: Metroid Prime 3: Corruption ‘Yellow Valkyrie’: Shariq Ansari, OverClocked ReMix (http://www.ocremix.org)

0:00 Intro

0:30 Speculator: Nintendo’s new system

14:00 Talking games: Portal 2, Motorstorm Apocalypse, Super Monkey Ball 3D, Conduit 2, Back to the Future

29:38 Progress Report: 2011, part 1

45:54 Outro

Motorstorm Apocalypse is an impressive game in many respects. It’s technically sound, visually impressive and has a deep level of customization that can satisfy anyone who wants to feel like they’re making progress when they play. It’s such an impressive game in these ways that I have to feel bad when I say you probably shouldn’t play it.

Those who have played previous Motorstorm games would know what to expect with Apocalypse. The series is known for the vast array of vehicles all competing at once, and it’s also known for many different paths around the track. Bikes can find high, narrow routes, big rigs slog through muddy patches and street vehicles have to fight it out on the well-trodden middle. That’s still here in Apocalypse, but this entry’s new direction makes that less successful.

The direction? Well it’s now fairly infamous, given its poor timing. See, the game’s set in a city in the middle of an earthquake. We’ll leave the PR implications of that alone, but the gameplay ramifications aren’t great. The entire concept feels like the developers played Split/Second once and decided they wanted that game in their game. Sometime in the race (usually during the last lap), the track reshapes itself with falling buildings and crumbling roads. This goes wrong in two ways. First, with a free-form game like Motorstorm where there are always multiple paths to take, the changing paths are more frustrating than refreshing. You can learn these changes and train for them, but it’s not the kind of thing you can pick up and enjoy the first few times. Second, the game has always had the veneer of an arcade title, but the physics are brutally unforgiving. This wasn’t really an issue in wide-open deserts and jungles, but in Apocalypse, there are little pipes here, cement hunks there and slightly uneven surfaces everywhere. If you hit one, you will crash, and they’re in areas where you wouldn’t expect things like that. This would be even easier to take if there weren’t very similar-looking things that are intended for you to drive and smash through to great effect.

All that said, the game’s still not a bad one. You may not be able to play it at parties with people who aren’t used to it, but it’s sure to gain a following of dedicated players online. The customization is great, too. You pick your vehicle for each class, and customize each one with a host of paint jobs, parts and logos. The addition of perks online is great too. Borrowing from games like last year’s Blur, players can choose slight enhancements for online play and adjust things to their play style. It’s sure to make die-hards very happy.

The single-player campaign has a lot more to it this time, too. Rather than simple difficulty levels, the game has three separate campaigns, each with their own story. This is great, even if the style of the game and the style of the cinematics seem at odds. After all, the core game is high-drama, with intense score and visual realism. (That score, by the way, revolves around this one fifteen-second crescendo that gets really annoying really quickly. It’s avoidable in the race, but be prepared to hear it on every single loading screen ever.) The story is told as a motion comic, though, following incredibly stereotypical characters like a guy who decided to compete in this thing instead of playing pro basketball and an old guy who is supposed to be tough but ends up just feeling goofy. That said, this isn’t Heavy Rain or Uncharted, so the throwaway narrative is okay. (And totally skippable.) 

Motorstorm Apocalypse is very cool looking, and if you have 3D you may finally have your showpiece game. There are just a few design choices holding it back, and oh, do they hurt. 

Pros: Gorgeous game, deep unlocking and customization

Cons: Frustrating tracks, awkward motion comics